VIII
SILKS AND SORCERY
“Fetch me the handkerchief.”
Shakespeare—Othello.
It is probable that the modern handkerchief is identical with the “swat-cloth” worn on the left side in Saxon times and carried in the hand in the Middle Ages. The word “handkerchief” first appears in”1512, in a list of the Earl of Northumberland’s linen. The entry reads: “All manner of kerchiefs, breast kerchiefs, hand kerchiefs and head kerchiefs.” It is passing strange, therefore, seeing that handkerchiefs have been in common use for well over four hundred years, that it was not until the later years of the last century that any extensive use of them was made by magicians. Up to that time there were only a few isolated tricks, such as “the handkerchief burnt and restored” and “the vanishing handkerchief” of Robert-Houdin (the first application of the sleeve pull); and the use of silk handkerchiefs, apart from serving as covers for apparatus, was entirely unknown. It remained for Buatier de Kolta to apply silks to complete tricks in themselves. His lead was quickly followed, and to such an extent that tricks and manipulations with silks now form a very important branch of the art of magic.
The reason for this is not far to seek: their varied and brilliant colors provide pleasing and beautiful effects and they can be folded and packed in such small compass that their subsequent expansion to full size appears marvelous. It is not surprising, therefore, that several of the most successful magic acts of today make use of silks alone, and rarely does one see a magic act that does not include at least one trick with silks. We shall consider first the materials; then methods of folding, productions, vanishes, tricks with silks; finally the knots, ties, and flourishes.
I. THE MATERIALS
The silk should be of the finest quality and the hems of the separate handkerchiefs must be made as narrow as possible. For this reason it is advisable to purchase handkerchiefs from the magical stores. Prices, of course, vary with the size and quality, but it is always advisable to buy the very best. For ordi-nary purposes the handkerchief should be at least fifteen inches square and for stage or platform work eighteen inches square. Much of the effect is lost if smaller sizes are used. With regard to colors, modern dyeing art has reached such a degree of perfection that almost any color or combination of colors can be obtained, and even reproductions of playing cards and comic figures— such as Mickey Mouse, etc.—are now available in most effective designs.
When several colored silks are used in combination, great care should be taken to avoid the colors clashing. If the performer has not made a study of colors he should consult an artist when arranging any such combination. The following will serve as an example in which brilliant colors blend effectively: three handkerchiefs, emerald green, scarlet, and gold; the gold handkerchief bordered with green, the red bordered with gold, and the green bordered with red.
It must always be remembered that a great part of the success of a conjuring trick lies in pleasing the eye of the spectator, and if the materials used are dingy, dirty, and crumpled (alas, too often the case) the best handkerchief trick ever invented will fail to please.
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